• Proceedings of the Korean Information Science Society Conference
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• 2006.10b
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• pp.330-335
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• 2006

본 논문에서는 neural network을 이용한 이미지 장르(유형) 분류 시스템을 소개한다. 이 논문에서 제안된 시스템은 이미지를 예술(art), 사진(photo), 만화(cartoon) 이미지라는 세 가지 장르(유형) 중 하나로 분류한다. 이미지의 특성은 표준 MPEG-7 visual descriptor를 사용하여 추출된 후, neural networks를 이용하여 학습된다. 시뮬레이션 결과는 제안된 시스템이 80% 이상의 이미지들을 정확한 장르(유형)로 분류하는 것을 보여준다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2021.07a
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• pp.637-638
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• 2021

가상현실 기술은 사용자가 스토리에 참여할 수 있으므로 상호작용을 갖는 인터랙티브 미디어 및 교육 콘텐츠로 활용하는 것에 장점이 있다. 가상현실 공간은 3D 공간으로 구성되며 가상환경에서 사용되는 3D 캐릭터들을 제작하기 위하여 일반적으로 3D 모델링과 키 프레임 기반의 애니메이션 기법이 사용된다. 이러한 과정들은 상대적으로 큰 비용과 많은 시간이 소요됨에 따라 저예산의 프로젝트에서는 가상현실 기술을 적용한 콘텐츠 제작을 어렵게 만든다. 본 논문은 2D 만화 이미지와 만화 스타일의 애니메이션을 활용하여 가상현실 콘텐츠 제작기법을 제안하고, 만화 형식의 가상현실 콘텐츠를 제작하여 연구를 진행하였다.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.

• Journal of Science and Technology Studies
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• v.14 no.2
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• pp.281-318
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• 2014

This paper aims to examine women's understanding of technoscience by analyzing girls' comics(少女漫畵, Sonyeo Manhwa). The idea that women were not interested in science was a socially accepted. But this paper reveals that women are interested in science in a different way by analyzing Korean SF girls' comics. By examining an image of science in SF girls' comics in comparison to SF boys' comics(少年漫畵, Sonyeon Manhwa), this paper shows that women look technoscience through 'reflexivity' focused on 'human' and that this special character is derived from the feature of women's culture. SF girls comics have two features. First, girls comics reflect on power made by technoscience rather than describe it elaborately. And the reflexivity is expressed through a mental state, an emotion, and relations between human beings focused on a human nature, an ego, and an identity. It is different from boys comics that give weight to the mechanics and that show simple plot such as utopia or distopia, or a battle of good versus evil. Second, girls comics express technoscience as daily practices. In girls comics, some technosciences are linked to our daily lives and cartoonists and readers consider an 'essence of knowledge' together. It is different from men's view that regards knowledge as power or means.

• Cartoon and Animation Studies
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• s.14
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• pp.101-114
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• 2008

This article studied that the characteristics of the movement image shows clearly through the controlled movement which the experimental short animation film shows. Animation makes the short edit like live action film. In addition animation shows the movement image positively by redefining the relationship between the frames. By using the concept of the movement image, this article says the movement in animation is not only the technique but also the essential factor which makes the audiences recognize animation and causes emotion in them and the important factor which reveals the meanings of each animation.

• Cartoon and Animation Studies
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• s.23
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• pp.19-33
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• 2011

There are the various genres such as current affairs, romance, academy, Wuxia, sports, psychology, learning, living and horror in cartoons. Among them, the horror comics are based on the story full of real or realistic subject or exaggerated imagination. The horror comic by Ito Junji have gone through the various printings for the classes of readers since it was introduced in this country. This study has begun from necessity of research on the effect of the horror comics genre on the readers by analysis. among Ito Junji's horror comics makes its own cruel horror image by giving a very unrealistic situation to the usual structure of horror genre. The cruel horror comics rouse significance of the analysis of the genre as one genre of the comics. has the 'catastrophe' effect for the readers who want to enjoy and deny it at the same time by stubbornly describing aspect of 'cruelty' of the horror things. This study aims to research 'cruelty of portrayal' of in terms of human psychology.

• The KIPS Transactions:PartA
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• v.15A no.2
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• pp.75-86
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• 2008

Black/white comic rendering is one of the researches in the field of non-photorealistic rendering(NPR). Black/white comics have been produced manually as yet. But these previous systems require lots of time and manual work. So we propose the COmics Rendering system on VIdeo Stream (CORVIS) which transforms video streams into black/white comic cuts. Stylized font, one of comic representations, can be used to express onomatopoeic words and mimetic dialogue exaggeratively. But current comic generation systems do not provide enough effects of stylized font. This paper proposes a model for stylized fonts to express various effects. Effects of stylized fonts we proposed include geometric deformations. Thus we could represent stylized fonts on the still cut of movies and the background texture on a cuts of plain black/white comics. The final quality of our system produced is good enough to compare with manual black/white comics.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.443-448
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• 2009

We introduce an interactive image cartooning system based on personal subjectivity. To effectively tune various parameters needed to adjust image style, our system uses interactive genetic algorithm. By selecting several pre-stylized image samples using simple user interface, the user can easily achieve the desired result without having any signal-processing knowledge. Our system reduces the parameter tuning time drastically compared to the conventional system, which involves manual parameter setting.

• Cartoon and Animation Studies
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• s.36
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• pp.669-702
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• 2014

Today, in Korean modern fine arts, 'cartoon images' are utilized for their roles of the 'personas' of the artists, and as the 'texts' for the artistic discourses, while they play a role as a bridgehead between the public and art. In this study, we made a study, focusing on 'Atomouse' of Lee Dong-gi, in order to examine how the borrowing of the 'cartoon images' was made in the Korean modern fine arts, and what its period context is. 'Atomouse' of Lee Dong-gi is the first cartoon character that appeared in Korean modern fine arts, and it has acquired a symbolism of a subculture being acknowledged as art. In this study, we tried to find out what period contexts the changes of 'Atomouse' have, focusing on the private exhibitions of Lee Dong-gi, such as 'Smoking' Exhibition (2006), 'Bubble' Exhibition (2008), 'Double Vision' Exhibition (2008), 'The Garden of Uncertainty' Exhibition (2012) and 'Do Not Look Back with Angry Face' Exhibition (2013). Atomouse was born in the era of 'lack of pop' a change was attempted of it in the era of 'excess of pop' and its proceeding ended along with the 'settlement of the neo-pop'. From Atomouse started from the unconsciousness of the artist, we can find the 'identity' of the Republic of Korea, which was being influenced by the 'American and Japanese' culture, as well as the symbolism of a subculture being acknowledged as art, while it emerged as an icon to represent the Korean pop art of the time. Then, as the agony and self-examination of the artist was contained in it, its use was changed into the role as a persona and it was utilized as a tool to connect the and figurative worlds. In the end, the artist put an end to the proceeding of the 'Atomouse' at the boundaries of a persona and an alter ego, removing the creation with his own hands. In the process in which Lee Dong-gi created and changed 'Atomouse', the start-up and growth of the pop art are included in the history of the Korean modern fine arts, apart from a study of an artist. 'Atomouse' was not only painted on the walls of the subway stations in the form of public art, but it tried to closely communicate with the public through the collaboration with diverse media. It made the best use of the 'marketability' which a 'cartoon character' had at first, so that pure art was made a step closer to the public. So 'Atomouse' of Lee Dong-gi not only raised a subculture into the realm of high art, but lowered the door sill to high art. Through the study we could confirm what position 'Atomouse' of Lee Dong-gi, which started absurdly between parody and Hommage, takes in Korean modern art of today.

• Cartoon and Animation Studies
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• s.16
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• pp.113-124
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• 2009

This study shows that there is an essential difference between colors of animation and live action film through the expressive colors of 2D animation as distinct from three dimension space. While live action film has an obvious object of representation, the image of 2D animation is a creature made by human without the process of mechanical representation. And this is revealed sharply in the expressive colors of 2D animation. Therefore the expressive colors of 2D animation are the important points in which the autonomous meaning of animation image is revealed.